Daily Reflections – Acting Senior Project-Greta Ohlsson

Day 1 Rehearsal 8/21

Movement exploration/ exploring personal bubble
Human knot
The goal was to untangle ourselves so we formed circles completely disconnected and after attempting to for some time Marc gave us the option of changing the goal, however as a group we decided the goal was still untangle ourselves into a circle. After some more time we were not able to accomplish the goal and called it quits but still celebrated our attempt. We talked about what to take away from this: staying connected even when it is becoming difficult, clear communication of who we were talking to and what we were asking of them
Vocal tract movement/relaxing the face
Accent practice
It was the first time we had all heard each other’s accents and it was a bit difficult to hear others like Russian, French, and Hungarian because some of the sounds are similar although no completely so I had to visualize my vocal tract posture a lot so I could remain in Swedish and not be affected by others.
Table read
Marc proposed a map/question of when are you looking for someone to do the right thing in the situation and asked us to keep that in mind as we read through the play. I think I am always looking for someone to do the right thing. I am constantly having an internal conflict of should this be done or not because it goes against my beliefs and is sacrificing my place in heaven and my relationship to my religion by committing this murder and sin. After the murder occurs I think I want the relief of guilt and so if someone were to step forward and do the right thing (coming clean) I would immediately follow. When Poirot comes on the train and when the train has stopped I take these as signs from God and try to persuade at least princess that it should not happen and cancel the plan.
In the table read I noticed my mouth was getting sore from lip pulling of the posture of the accent and made a note that I need to relax the tension from a 10 to a 5 still.
More work on “th” to “d” sounds
Pitch/tone differences of the accent when I am overcome with emotions
Learning how to scream without straining the throat and vocal cords
I tried to let loose and not focus so much on the sounds coming out of my mouth but rather my connection with the others and my intention. Doing so helped me realize where I still needed to work for the accent and there were new discoveries made in terms of the action of the line and beats
We discussed after the table read that there is a lot of details about how the murder was planned that are left out and that we can decide individually as actors how it occurred. A question was also brought up about how much did the plan change after Poirot was discovered to be onboard and the train stopped. For me I think after the train stops there was lines of communication because if we all banded together it might be suspicious. I think I rely on princess for a lot of the information on changes in the plan because she is my companion on the trip and is close to Hubbard who orchestrated the entire thing and was calling the shots.
Question that is still nagging at me is who out the uniform in my suitcase? But also does it matter? In that specific scene I don’t think it does, I am trying to convince him I had nothing to do with it, which if I did I’m trying to convince him I didn’t and if I didn’t put it there I am trying to convince him I didn’t put it there. I think it matters in connection to the scene the morning after Ratchett has been murdered because I am ahead of princess and by Ratchets room so I [the actor] wondered why I was there.

Day 2 Rehearsal 8/22

Design presentation
Table discussion about why the play is important/why are we doing it
Discussed how it showcases poetic justice and a gray area between what is deemed right and what is deemed wrong. This tied into a conversation about corrupt systems and how what is seen as right (morally) is not always upheld by systems of power
It was discussed that many who are a part of this plan to murder have things they could lose and risks they are taking but many seem committed to the idea. I don’t think I know if this is the right or wrong thing to do the entire time up until the murder but when the body is discovered. I am suffering from internal conflict the entire time just as Poirot mentions he suffers at the end when he discovers who did it. The actions that I am taking go against my values and beliefs I have held since I was a little girl. This begs the question of why did I become part of this plan in the first place which is something Marc brought up in rehearsal. To go against these values that I have held since I was a little girl shows that I cared deeply for Daisy and this family. Praying every day for Daisy’s safe return, praying for her family after her death, praying for the safety of the mother and her child, praying for the father after losing his entire family, praying for everyone involved because of this tragedy. Every time I prayed for someone, something terrible would happen. All those unheard prayers linked to such tragedy would make me question my faith. In the book I even say that a case such as the Armstrongs “tries one faith”. I would look for the bigger picture, God’s plan for taking away this entire family and the man who did it getting away with it. Good things happen to good people so why did this terrible thing happen to this family? (We talked about good things happen to good people and bad things happen to bad people as part of poetic justice) I would be waiting for God’s justice and I thought that would be the law but the law failed the family. Then a plan was brought forward to kill Ratchett and this seems like a sign from God, God’s plan to get justice. (Or am I questioning my faith so much that I am willing to put it to the side to enact vengeance? I [the actor] don’t think so because I’ve held these beliefs for so long I would cling onto them hoping it is true. The fact that I am still tied to my faith in the events of the play also proves that.)
We discussed family; who has some and how that ties into the play and circumstances

I didn’t have any family in America. I have a sister in Lausanne and family in Sweden still but the Armstrongs were my found family. I cared for Daisy deeply and the family was kind to me.

We discussed money; who had money, relationship with it, relevance of it in terms of being in first class or second class and being on the train

I don’t have a lot of money. I worked as a nanny for some time with the Armstrongs and as a missionary for some time raising money to give to others. Having money and investing in material goods is a sin in my eyes. Considering that the tickets for the Orient Express cost 37$ to ride the train (approximately 800$ today) there would be no way for me to be first class or even second class which is why Princess pays for my ticket. My relationship with money is unique because I don’t have any myself and refrain from investing in materials things but I understand the importance of money because I raise it as a missionary for American children and soon African children.

Movement exploration/ensemble building
Investigator and leader game: Investigator had to determine who was the leader of the secret society. We copied the movement of the leader sitting down.
Bring pictures to life: Multiple pictures of 1930s film shots were displayed and in groups of three we had to recreate the pictures keeping in mind how it feels to move in the clothing they are wearing and how they are holding themselves. Two were casted in the picture and the other was the director adjusting finer details.
Explore movement through tasks: We picked out three activities to do in a wide variety of ways to explore how we would move in the clothing of the time period and as our character. We then went one by one showing a sequence of activities.

Table read
Our map for today’s reading was how to we make clear what we are saying when communicating with others who speak a different language or have an accent. Using the full body, gesturing, and elevated intention.

Day 3 Rehearsal 8/23

Staging 1.1 and part of 1.3

1.3 we are at the train station. There will be nothing on stage but smoke and a light to signify the train is off SL. Distinct visuals and references for this in order to imagine what is surrounding me
Made me realize that I have the process of getting on the train to research more and explore not just where we were before the platform
1.1 was the beginning and will only be a voiceover. Explore how to convey what is happening physically but with our vocals

Determined what is happening beat by beat and played the scene out a couple times before transitioning to vocally
Clarity vocally is key and to bring linguistic detail to a 6 or 7 and enunciate consonants

Day 4 Rehearsal 8/24

I prepared before by looking over 1.3 and making sure I had a familiar understanding of my lines and the scene. I worked on memorizing and beat structure. I warmed up vocally the same way we did on day 1 of rehearsal.
1.3
Focus todays rehearsal on clarity and vocal energy
Does Greta view herself of lower status to Princess? How does this affect the way she interacts with everyone.
Exercise where we say two lines with increasing distances to feel what is going on vibrationally and vocally
Should feel buzzing in throat and nasal way
Considering still how I walk and move through the space
Marc mentioned to bring in the fourth side, visualize what is out there and visualize the things we are talking about. Consider the physical elements like it is winter and night time.

Day 5 Rehearsal 8/25

1.3 going into 1.4

Vignette, frozen frame. We explored how our characters might stand outside waiting for the train. Discussed how to make Greta hidden because I fly under the radar a lot
Explored 4^th wall, sensory, and tone when in 1.4 waiting to get on the train.
What am I wearing as an outer layer? How cold is it there?
“clickety clackety line” is that in addition to strangers or what I don’t like about this trip?
I am expected to know what to do for Princess and am following her every move.
When exploring how to spotlight 1.4 I needed to be lagging behind Princess and I noticed that Princess went straight past people without asking if they were in line so I tried asking to move past people and saying excuse me in order to slow me down some and explore character.

Day 6 Rehearsal 8/26

1.4
What is the point of the goat story? The idea of what I am saying is that I have another companion on this train to relieve me of the stress just as the old goat did on the train from the noise. If that’s the reason I am saying this then the “oh!” confuses me because it seems like I am onto a different thought. But when rereading it I discovered that “Oh!” moment could be me reenacting my reaction to the goat on the train so I tried that in one of the runs and it worked a lot better

8/27 No Rehearsal

Day 7 Rehearsal 8/28

Review of 1.1-1.8
Props were introduced/interaction with objects
How do I interact with my suitcase versus the Princess’ suitcase?
Clickety-clackety referring to suitcases opening and closing?
How do I hold my suitcase? Do I take care of it despite the condition?
Putting images into our body by full body gesturing to the image
It involves the body and creates inner life
During 1.4 doing the full body gestures helped me break out of line readings that were forming. I want to continue to apply this to my future rehearsals
I was playing with how to hold the three suitcases and my suitcase after. I was hugging it and using it to block my body to hide which made me think that I had something in there that I am trying to hide or protect which I connected to the circumstances of the gray suit being in my luggage. Hiding my body could suggest I have something to hide or I want to stay hidden which is something I have already been exploring (Lowering status and flying under the radar). Clutching it suggests as well that I am scared of my luggage being taken or my paranoia is rubbing off in that way. I am debating whether or not I am doing the right thing and am becoming increasingly flustered. Clutching the suitcase/holding it closer to my body keeps me warm outside the train. I did the opposite in 1.4 when I am talking about the train feeling very tight and moving the suitcase away from my body.
I have been playing with viewing myself of lower status because I have worked in a position of lower status. There could be a sense of moral superiority which could be interesting to explore, especially in the first scene. It would help make sense of “It is mademoiselle” line and “She is very sick” line because it seems quite demanding and corrective. It’s weird that I would speak for Princess when Michel is asking the question to her.

Day 8 Rehearsal 8/29

Prepared by reviewing lines in scene we are doing and locating areas to point with the whole body
Previous rehearsals I’ve still been in my head about the signature sounds of the accent so this rehearsal I wanted to let loose and focus on my intention and targets
During rehearsal I found it was easier to identify where I needed more practice with the signature sounds than if I was conscious of it and I felt stronger about the fact I was hitting my target
1.9
Dissecting what the first beginning couple of beats are with “good morning” From that discussion I realized I needed to revise my original destination/previous circumstances because at first I thought I was already on stage and Princess comes on but I am entering and traveling across the stage so I need to determine exactly where I am going, especially since I am ahead of Princess
I say good morning twice; why is it written with an exclamation for MacQueen? What is the stimulus that causes the beat change?
When exploring/talking through the scene I wanted to explore who I am speaking to and how the intention might change
It never occurred to me before coming into rehearsal that I could be putting on a façade/show but that has been brought up in discussion which has made me go back and examine circumstances to explore the idea that I am putting on an act. This idea was brought up in 1.3 and appeared again during this scene.
There was a moment/false exit that was hard to justify (Princess and I walking to the dining car but we are stopped by the events at Ratchett’s door. We used “bomb in the room” to explore a sense of urgency with getting into Ratchett’s room so that Princess and I staying could be earned and justified.
New stimulus: cold air coming in from the door
Substitution for seeing the body and the feeling

Day 9 Rehearsal 8/30

What is my role with the Princess? My way has been paid for by Princess she says so herself but is that true? What do for the Princess?
Princess has paid my way to be there because I could not afford to on a nanny/missionary salary. I am also not into material things and I am a missionary so any extra money I do have is put towards helping the mission and others. Because she has paid my way I feel indebted to her. I am always with the Princess in a scene and never by myself so I follow her around quite a lot which makes me [actor] think that my role with the princess and responsibilities is similar to that of MacQueen. I assist with bringing food and drinks to Princess, carry her luggage, etc. I [actor] don’t think that would have been necessary of Greta to act in a role similar to MacQueen as secretary; I feel indebted toward the Princess so I want to do all I can but I am also on a mission to rid myself of sin by being of service to others. I’m committing three major sins on the train so I’m scrambling to find ways to relieve myself of the guilt and inner turmoil by doing good things and staying devoted to God myself but also helping others find Jaysus.
I noticed in scene 10 that my alibi for the murder is proven wrong a couple of scene prior because Mary is on the observation deck with Arbuthnot and we know that this happens after 12am because the scene before that Ratchett is fighting with Mrs. Hubbard and says the time.
A note was given about operatives in this scene so I need to explore the image words in my lines to trace a line of thought.
I do not have an activity during this scene so finding ways to be physically present although I am just sitting.
Do I know that it is the Princess’s handkerchief? How do I feel about Poirot and his questions? He is chasing after the Princess, how does that make me feel and behave? Am I intimidated by him or frightened or annoyed?
Do I become concerned with how much information is being revealed during this conversation? Is that part of the stimulus for wailing and exiting the room?
Played with physicality of sitting in the chair, finding a more comfortable position to sit in an uncomfortable situation. Sitting on the edge of the chair with legs crossed and at an angle is typically how women during the early 20^th century would carry themself.
How to involve the 4^th side more in this scene? How big is the dining car? What is on the 4^th side?
“Beautiful thing” pronunciation. Need more practice with th sounds turning into d sounds.

8/31 No Rehearsal

Day 10 Rehearsal 9/1

Run/work through of Act 1

We hadn’t done scene 1 in a while, so some beat shifts were lost that we discussed in rehearsal.
Vocalization during scene 1 with running up the stairs and lifting Daisy into bed was dropped or not as present as they could have been.
Try to lift something heavy and listen to vocalization that occurs to embed in this
In scene 3 and in the transition from the vignette into scene 5 when come to life and react to the stimulus around us, I forgot that it was cold. I also had not taken into account audio stimuli in addition to visual and physical/body; there would be trains releasing steam, workers yelling to each other over the noise, strangers talking, children crying, heavy luggage dropping/being sat down, many different languages and accents.
Does the stimulus overwhelm me even more? What in particular? Is this where “the strangers and der clickety clackety” comes from?
When holding the suitcases backstage for my entrance for scene 3 my arms were getting tired already within 5 minutes which made me think about how long I [Greta] had been carrying the suitcases for and how I dealt with the fatigue and exhaustion. Did I set them down and the Princess made a comment that I am not much help?
In scene 9 why do I leave and then come back? I know that Ratchets’ dead body is in there and I am moving through that hallway when MacQueen comes to wake him up. Was I just moving through or was I trying to be by or get near Ratchet’s room for some reason?
In scene 9 I overlooked reacting to the new stimulus of cold air coming from under the door of Ratchett’s room when it is pulled open but still chained.

Day 11 Rehearsal 9/2

How much of my religion is a put-on? At the end of the play it says I go to Africa and I help many children, but the religious aspect is never mentioned. Was I religious and amplified to prove my innocence? All I talk about is Jesus so it seems like I am trying to convince?
Endow blood on floor that would be both dried blood from Ratchett and fresh blood from Mary.
Staging has me stuck between the knife which makes me say I cannot look and then I am pushed more towards Mary which I could not watch because of the injury and blood on her arm.
Am I scared of the blood or is it a reminder of the crime I committed? I say I cannot watch Mary’s arm being cleaned and dressed but that is not a reminder of my sin it seems like I just don’t want to see blood.
Exploring physicalizing when I have no activity; how do I calm myself down physically? Physicality more closed off and short when around Princess?

Day 12 Rehearsal 9/3

Pgs. 70-76
What information would my passport contain? Would it show what countries I have been to? Then I would be concerned with Poirot having my passport because I haven’t been to Africa and I have been to America (but I said the opposite to Poirot). Would I have received a new passport maybe through Princess’/Hubbards resources (It would still have to show that I have been to Africa though)?
In other scenes usually I am the one being chased but in this scene I am chasing for the first time which creates an interesting shift. Why would this be?
Part of the plan it seems is to have Poirot find the second conductor uniform to prove there was another one on the train (besides just having the button) Would I know that the uniform is in my suitcase though? One part of the text seems to suggest that I do because I ask Poirot to check the other suitcases first and not mine as if I am trying to buy time to move the uniform from mine. But if it is part of the plan for it to be discovered, why would I want to move it? The idea that the blame falls on me and I look like the murderer despite it being a group effort?
After the uniform is pulled out of my suitcase I immediately am in defense mode. I say I am not a murderer before he even accuses me of it so the idea I am concerned that this implicates me as the murderer checks out.
Taking back my suitcase after the uniform has been pulled out suggests that I am concerned with my personal belongings being aired out.
I have been compliant thus far, if the plan was for him to discover the suitcase why would I not just hand it over and be surprised at the discovery? Why put up the fight of looking through my things unless I am embarrassed/worried about someone looking through my stuff?
In the previous interview with Poirot I (nor does Princess) say that they saw a second conductor last night, it is only after others have testified to a second conductor that we admit we saw one. This suggests that information is being discussed through lines of people rather than as a group and that we are scrambling to cover our tracks.
When Poirot brings up the fact that I saw a second conductor last night what is the action? Am I trying to cover it up?

Michel is the one to say that the princess and I saw another conductor on the train last night, I never said it to Poirot until he asked me after grabbing my suitcase. Michel was the one to put it in my luggage he would have access to my luggage to put it in there and never have to even tell me. If someone put it in my luggage without me knowing then I would want to protect my suitcase (hence the action of me grabbing my suitcase back). I don’t think I knew it was in there but I was worried at the possibility it could be since we are all in on the plan together. And it being in my luggage suggests I am the murderer and I could be worried they are trying to frame just me now since I am not directly related to the family and of lower class.

What information stimulates me in this scene and what calms me down? The proof that the button matches the uniform and that there is a pass key in the jacket implicates me further and would catalyze me but Poirot reassurance that I did nothing wrong may calm me down as well as the Princess coming to my aid.

No Rehearsal 9/4

Day 13 Rehearsal 9/5

I am still struggling to figure out whether religiosity is a performance to remove myself of implication or religion is part of my being and the conflict between values I’ve had since I was a child and the case/crime are coming up to a boiling point. I was thinking about this in relation to Act 2 scene 3 because I can’t determine the action and obstacle in this scene. If the plan was to have the jacket discovered, why would I put on a show and create an obstacle with him taking the suitcase? Why wouldn’t I just hand it over and be surprised at the discovery if it was part of the plan for the uniform to be in my luggage? Did I put on a show to rid myself of implication even further similarly with religion (if my religion is false)?

Two things in the scene stand out to me that make me question whether or not I knew the uniform was in my suitcase. One of which is “It was yesterday just after we boarded” in response to Poirot asking when the last time I saw my suitcase was. It is the next day after we boarded the train so it is suspicious that the last time I did look in my suitcase was after we boarded because I would have had to get dressed that morning. The only thing that could disprove this theory is if I laid out my clothes the night before for the next day. The other line in this scene that makes me think I knew that it was there was telling Poirot to check the other suitcases first. It could be argued that I don’t want to be the only one humiliated and that I am worried he is going to blame me as the murderer so I want him to check others. But asking him to check the other ones first, specifically that first is included, makes me think that I wanted time to move it out of my suitcase. But then again if discovering the uniform was part of the plan why would I want to move the uniform? My inclination is that I was not aware the uniform would be in my suitcase. I was genuinely concerned with Poirot taking my suitcase and after he explains that the uniform must be in someone’s luggage after revealing the killer must be on board still that it would be in my suitcase and that he would pin me for the murder. I don’t think I knew it was in there because I did know and was aware that it was part of the plan for him to find it that I would have put up less of a struggle and made less of a commotion in him taking it; handing him the suitcase and being surprised at the discovery would have been enough. (However, the anxiety and fear of the plan being found out could have made fueled an outburst of a performance if I did know it was in there and part of the plan. This is contingent on the premise that I had been overreacting and putting on a performance in the other scenes such as the discovery of Poirot’s body.

Day 14 Rehearsal 9/6

I wanted to play with breath during uncomfortable/intense moments; holding it in.
When in the last scene there are many moments where Poirot is revealing information he has gathered. At what point do I realize he has it figured out?
Communication through the silence: does he have it figured out? Where is he going with this? Does he know about that really?
During suitcase scene when Poirot takes it there could be a beat shift?
During this scene I’ve been exploring what children do when they get in trouble for doing something they know they shouldn’t do and I also realized I could apply this to the last scene where Poirot is attacking us.
Continue exploring gesture during tableau scenes, specifically for the “I am not married” and “I am a missionary” lines.
We created a fight choreographed moment between Countess and Greta where she has to be restrained from taking the suitcase back. With exploring that moment I learned firsthand that clear communication and trust in your partner is so important in order to protect yourself and your partner.

Day 15 Rehearsal 9/7

Run through of Act 2
When Ratchetts body is discovered Marc suggested using the Princess to grab on to because the destination could have been stronger when I say I cannot look. Cora and I worked together to come up with something we were both comfortable with and tried it out and it gave me a lot more to play with than just moving away and behind her before.
In scene nine I had been walking ahead of Princess because I was on my way to the dining car where I had left my bible and Princess tries to stop me but I want to get away from princess because I have been so exhausted from attending to her. Plus I desperately want my bible after the events of last night. Marc said he was not buying that I wanted to get away from her because when she called my name and I realized it was her I would stop like she has caught me so I explored continuing on even when I notice it is her until I run into MacQueen.
I noticed during the run through I was looking down at the floor a lot which could be more opportunities for fourth wall work or making my intention clearer. I looked at the floors both during moments I am communicating and when I am witnessing (during scene 10).
Marc gave me a note after the run-through and said to explore circles of attention when in scene 10 which I think is exactly how to solve the problem of looking at the floor during that scene.

Day 16 Rehearsal 9/8

I had a meeting with Marc today about how to scream without straining the voice. We looked at vocal track posture and did repetitions of exercises where I say something with increasing volume and focus on the vowel sounds I am using. Then I explored how to add some grovel to the scream by raising the larynx as I would when singing in my head voice.
Run through of entire show.
Today Marc gave me an acting challenge to not rely on what he assumed to be one of my bag of tricks. So in response to that I wanted to work on hitting my target/intention and letting go/trusting myself.
One thing that happened that shook me out of resulting to an earlier choice was the Princess walking away from me in scene 3 and I almost dropped my line so I could tell I was starting to form a line reading.
After rehearsal I felt emotionally drained from specifically Scene 3 and Scene 5 in Act 2 but also from scene 9 in Act 1. I could tell that I was present for these scenes and the intensity and stress of the cirucmstances as well as my substitutions were paying off. It is in the other scenes in Act 1 that I am not so sure of the target/intentions so I need to go back and reevaluate now that I am not switching back and forth between whether or not I/Greta is religious or if it is all for show.
Of the three screams I have, the first one led to a little throat clearing but the rest were all fine. Because I had just begun playing around with the screams it didn’t feel like I was letting the stimulus and circumstances lead to the scream but rather I was taken out of the moment trying to think of what I learned today so I could scream.
I had to work to earn the princess’ attention more this time and I played around with it when I didn’t have her attention letting the exhaustion take over me.
I let go during the suitcase scene until the moment when Mrs. Hubbard and Princess fight because I don’t have a clear perspective on it and how it obtains to my circumstances.
“Married” was weird in the accent, review that sound.
I realized the physical gesture for the tableau moment for Eee! Dear God is not going to be the same as when I first do it because I am using the princess to shield me now in scene 9 where that tableau is from.

Day 17 Rehearsal 9/9

We explored physicalization today by going through scenes multiple times with different body energies:

Frightened radiant

Floating/buoyancy

Writhing

I want to explore “expanding” physicalization during scene 3.

Endow luggage with heaviness when setting them down and handing them over to Michel.
Marc gave me a technical note to leave space for “my nanny” to be heard in scene 1 before vocalization.
I wanted to explore standing up to Princess in the scenes rather than rolling over so easily and it created something more interesting to our relationship.
In scene 3 I had to demand her attention more which was interesting because I realized that I was demanding to get her attention by trying to avoid attention from everyone else. I think that demanding her attention is coming from the fact she is like my companion on this trip.

Day 18 Rehearsal 9/10

Warmed up my voice by humming.
Explored Act 1 Scene 10 and Act 2 scenes 1,2, and part of three.
Alternative way for trying to find Mary after the gunshot?
Explore other actions for interview, specifically with Poirot. Do I want to just convince him or impress him or intimidate him?
What is keeping me in the room when Mary is shot? Do I want to assist her? Do I want to figure out what happened?

No Rehearsal 9/11

Costume fitting; testing skirt to see if I can kneel and reach, as well as sit comfortably

Day 19 Rehearsal 9/12

Fight choreography work
We made sure to have a strong base and to include vocals of me trying to get the suitcase and struggling. I started relaxing my arms and trusting that Emily will grab it at the right time to stop me.

Day 20 Rehearsal 9/13

I caught myself looking at the floor quite a few times and Marc gave me a note about it after rehearsal to involve 4^th side more
Beat to look at each other after we stab Cassetti
Challenged Princess more today/was less accepting of her attitude toward me and it created new moments

“I am a missionary”

Her interrupting my prayer

“I think it will not be so different”

My accent wasn’t as strong tonight and I think it was because I did not do my warmup and haven’t reviewed signature sounds in a little while
Involve the body more, liking radiant energy when someone has been injured or upset
What type of body energy when being interviewed? Wraithing?
I did not have much faith in the circumstances tonight but I also was feeling sick with a headache and exhaustion and I think contributed some to this.
“thank you” to Poirot wasn’t really working, it made more sense to say it to Princess because she has come to my aid.

Day 21 Technical Rehearsal 9/14

First day of Tech!
We started at the top of the show and got two pages in (Scene 1 and the beginning of Scene 2)
Recordings of footsteps are not happening, instead what we played with was Maddie and I running from SR to SL to give the idea Greta and Daisy are running up the stairs.
When we were running we made sure to quiet our steps when there was dialogue.
When we are as far downstage as we can be we need linguistic detail of a 6 or 7 but now that we’ve added movement to upstage we have to bring our linguistic detail to an 8 or 9 so that we can be heard from back there and over our footsteps.
When we started scene 1 there was a train sound that was playing over top of our dialogue (which wasn’t supposed to be there/didn’t end up being there) and that helped break up that scene and find new moments of connection as we had to amplify our linguistic detail and our intentions so that the story was clear.
I received my glasses for the first time today and it provides another action in scenes that I was not thinking about before

Day 22 Technical Rehearsal 9/15

Look over lines when boarding the train.
Put the noise, crying, and animals somewhere in space for her to see

Day 23 Technical Rehearsal 9/16

I warmed up my voice by humming and practicing screaming “Hello away”, ensuring I was raising my larynx.
Practiced sitting in my skirt. I have to sit on the edge of the chair as instructed by Kevin and pulling up my skirt before sitting made it easier to do so.
I found new occupation and destination for scene 9; Checking time after princess and MacQueen say good morning to justify still remaining in that area and not walking off since I was previously trying to escape Princess before he appears before me
Cleared up confusion with my scream and its’ timing in scene 10. It is in response to seeing Mary; the place of it in text and blocking made me think it was before opening the door and it was hard to justify
Explored new physical occupation at the beginning of scene 10 so we are in action but it isn’t too much since the platform is still turning. (Cleaning glasses, cleaning watch off, checking time)

Day 24 Technical Rehearsal 9/17

During 2.3 Poirot is opening the suitcase as I am trying to get him to stop which elevated/strengthened my objective
Who am I trying to convince and plead with after the jacket is taken out of my suitcase? Anyone else besides God or Poirot?
Is “I did nothing wrong” to Poirot or God?
Do I still try to play innocent after he says that I was Daisy’s baby nurse or have I accepted I’ve been caught?

Day 25 Technical Rehearsal 9/18

Full run-through
Playing with moral high ground; previously I had been working with the idea that I am aware of my status being lower than others on the train like Princess and the Countess, but upon playing and reexamining I think it makes for more interesting action and aligns better with my circumstances if I take a position of higher status but in terms of morals/religion and not money/power.
My expectation going on the train was that we would murder Bruno Cassetti based on the plan Mrs. Arden constructed and we would be interviewed but ultimately, they would think it was an outside job. Poirot and his relentless investigating/discovering clues is the obstacle to the plan constructed. I think this could play into many moments like when we see Bruno’s body, the interview we have with him and his questions (what do I think of the questions he asks?)
Don’t play cold, try to warm yourself up where the cold would hit you

Day 26 Technical Rehearsal 9/19

Full run-through
At the beginning of rehearsal Max talked to us about the lighting setup in 1.3, there are no lights focused on us from straight on, they are only coming from SL and SR so we have to consider where we stand so we are not blocking light from the others’ faces while onstage.
During the scene I don’t think I was blocking any light for Cora or Blaise but I know I did for the brief interaction I have with Peyton so instead of coming to her straight on I have to offset myself.
Marc gave me a note about my intention not being clear in 1.5 when talking about the “old goat”, the reaction I was looking for wasn’t entirely clear or understandable to the circumstances. I looked over those lines again and my intention was to startle her so that she would see how nervous/uneasy I am about being on the train and the murder we are about to commit. I am looking for connection and a friend in this moment and I wanted to play with a different intention; that I am trying to make her laugh so that we may strengthen our bond so that I can have someone to rely on in the craziness of the events on the train. [It’s like when you’ve had a bad day and you know your friend will understand because they have had bad days before or are going through a similar thing so you share about it expecting a supportive reaction] I also noticed I could explore more when I am not receiving the reaction I want from her and how the beat changes after that.
I played with this in the run through-I know I did because I forgot a line and had to call for it (broke me out of a line reading) after I realized what I was hoping for (support/reassurance) wasn’t coming, so exploring the next beat is worth exploring.
I saw MacQueen in 1.9 before I’m supposed to bump into him; I need to make my intention clear with Princess so that my attention is still on her before I turn around.
During 1.9 when I exit sobbing I noticed that I was in my first circle of attention and when I went to my second/third circle I realized there were lines happening onstage that might have not been heard because my sobbing was still so loud. Exploring circles of attention when I am upset (hiding from others/not wanting to be seen, not wanting to see the body/blood) could help find physical occupation during this scene and others as well in addition to preventing my sobbing from covering up the next lines.

Day 27 Pay-What-You-Can 9/20

I felt static during 2.3 after the countess pushed me back from the suitcase and before he opened it; I needed to still think about grabbing the suitcase but not being able to because the countess prevented me.

Day 28 Performance 1 9/21

I came into this performance wanting to let go and trust in the preparation I have done which has been something I have been trying to work on this entire time. I felt like last night I had line readings I was leaning on so I wanted to cut loose and with this run I was earning the responses I wanted more than in previous runs.

I had some vocal strain after doing my first scream when discovering Ratchet’s body, I don’t think I opened my jaw all the way and raised my larynx which is why I felt like I had to clear my throat

Day 29 Performance 2 9/22

In scene 9 when we discover Cassetti’s body I move to hide behind Princess, and I need to think about the narrowness of the hallway when doing so. We’ve allowed the narrowness of the hallway to expand in some scenes, but I don’t want to push it too far.

Work on moment to moment more when seeing Cassetti’s dead body. Take in what you are seeing before reacting, I caught myself just screaming more because I knew I had to scream rather than reacting to the dead body and blood.

Day 30 Performance 3 9/23

I think I can play with more who the lines go to in scene 9, I have been doing it towards Princess and God with the intention to shake her and God into seeing what we have done is wrong but it could be to both her and MacQueen or it could be to Poirot with a similar intention but for different reasons. He immediately becomes analytical of the body and does not take the time to see that he was a human being and is now dead.

Continue to explore circle of attention in 1.10. I have been relying on the water to bring me into my first circle and also calming myself after seeing the dead body and Poirot investigating us. What brings me out of my first circle? His questions bring me out of first circle and Princess discussing the Armstrong case brings me to third circle but where are there moments in her speech that I am back in first circle like calming myself because she is bringing up all the deaths?

Day 31 Performance 4 9/24

In scene four I found myself repeating an action for the “old goat” scene and I am becoming bored with it. What other actions can make my intention clearer of capturing her attention and friendship/companionship?

“Pray for his soul” line I have been doing towards God but I wonder what it would be like if I did to Poirot? The intention would be to astonish God with my repentance for killing a person but to Poirot it would be to empower him with my grief for Cassetti’s death so that I am not considered a suspect? Or to Princess to scold her for not sharing in the remorse after taking someone’s life?

Day 32 Performance 5 9/28

More linguistic detail for scene 1 I was at a 5 I worry and I should have been at a 7 or 8.

I felt like my body energy was low in this performance and I needed to explore radiancy again when I am in situations where I am overwhelmed by the stimulus or worried about spilling information or my relationship with God and trying to calm myself down.

Day 33 Performance 6 9/29

I played with hitting the princess’s walking stick with my suitcase to address the “clickety-clackety” as the luggage bouncing off of things but when I did it, it didn’t feel like something I would do.

During 1.9 I was looking at Cassetti’s body and Poirot pulls the sheet back to reveal blood and upon seeing it, it provided new stimulus to carry my action further. I hadn’t been observing this in previous performances because I had been going back and forth between looking at his body and then hiding behind the princess but I made myself look at his body because it is a moment for me to realize fully what I have done and regret it.

Day 34 Performance 7 9/30

Today was the day I trusted myself and the work I have done. I found a new action during 1.4 of trying to make the princess laugh by imitating the goat. During 1.10 I found new moments of connection with Bouc and the princess.

I realized I was dropping my gestures for the flashback moments in 2.5.

Day 35 Performance 8 10/1

How much more could I have pushed my devotion to God/tried to please him? Shoving my cross necklace in someone’s face? Getting down on my knees to pray in 1.3 or 1.9 or 2.1?